Text "Marquee '62" (Walter Schäppi)

It's better to light up a small candle, tahn to complain about darkness. (Confucius)

It was 25 years ago that the Rolling Stones had their first legendary gig as The Rollin' Stones at the famous Marquee Club. This concert remained unrecorded, which is confirmed in Felix Aeppli's trendsetting book Heart of stone. This album should at least give you an idea of the way the Stones played there.

To the Marquee songs I have added:

• One special song which needs no further explanation.
• The three songs of their first studio session. Those songs, as the following one, have never been released to date.
• As I didn't want to repeat the remarkable joke of leaving the 4th side without music, it includes a wide variety of blues songs which should encourage you to compare them to the covers.

Each album contains an 18 page booklet which I worked at from November 1986 to March 1987. Some parts were rewritten in June 1987; and 33 albums have a numbered tape with 35 more songs! First come, first served!

Why this album? Every song has been officially released, i. e. easy job to dub...

• Out of these 18 Marquee tunes, only four are known in at least one studio version, and recorded with a different line-up. I know from experience that there are a lot of Stones fans who don't know too many of the listed musicians, let alone the songs! I find that it's important for every real fan to be familiar with the roots of the Stones' music, or as Mick said in 1968: "What's the point in listening to us doing I'm a king bee when you can hear Slim Harpo do it?" Maybe you will not like some of these tunes, but then you shouldn't forget that the boys were crazy about them!
• Some of these tunes are by no means easy to obtain, and more easily available blues records are not always part of a collection.
• ...and this album makes more sense than to be forced to listen to the 47th version of "Brown sugar"!

Concerning song titles and composer credits, the existing information was not accurate enough, so I have collected the most important resp. interesting info from books, magazines, record sleeves and other sources, especially by listening to hundreds of records. In any case, it's work that repays the labour well!

Now listen to the songs and put together your own Marquee tape, and try to imagine how they played then. Fantasy is not a question of age...

I want to thank everyone, who, knowingly or unknowingly, helped me realise this project.

Dr. Blues jun.

PS: The doctors Rock'n'Roll, Soul, Safe T. First and Country clearly say that they are not thinking of coming up with anything similar to this project!

Marquee International Jazz Club, 12th July 1962: Some personal remarks.

• R&B to the bone! In comparison to the Beatles (Star Club album from 1962!) and further bands from the Merseyside, the Stones were really different, despite Chuck Berry's heavy influence on all of these guys.
• The concert was organised very spontaneously. So they had to choose songs which they were very familiar with. As the group's member's showed different tastes, a variety of songs came together. Yet it's really to simple to say: Mick → Jimmy Reed, Keith → Chuck Berry, Brian → Elmore James and Stu → boogie woogie.
• As ist was a club performance this 18 song set was not too long, though it may be then seen so in retrospect. There was still a long way to the 8 song sets!
• They didn't play any Bo Diddley songs, and not more than two of Chuck Berry. Was there any fear of being considered a R&R band? On the other hand, there were ten songs by Jimmy Reed resp. Eddie Taylor and three by Elmore james! (There was only one Jimmy Reed song on an officially released record, but Jimmy Reed's and Elmore James's strong influences can hardly be overheard in the group later recordings.)
• In Britain the sources of black blues music were very limited. Records weren't easy to obtain, almost nothing could be heard on airwaves, with exception of the AFN and Radio Luxembourg, and the pop papers were stultifying garbage. So how did they come across these songs? Rare record shops which imported authentic blues records, art schools and clubs like Marquee and Ealing became meeting places and made discussions about musicians and songs, jams, rehearsals possible, and sometimes an effort to build up a band. (A remarkable number of black musicians had visited England before 1962. Big Bill Broonzy first, then J. White, Otis Spann, Muddy Waters, Sonny Terry, Brownie M. Gee, Sp. Red, Willie Dixon, Memphis Slim, J. J. Dupree, Jimmy Cotton, Roosevelt Sykes and L. B. Montgomery. But there is no hint, that a Stone saw one of these gigs!)
• What did it sound like? In comparison to Blues Incorporated, the regular Thursday band, the Stones' music was brasher, rawer, less jazzy (no horns!), and probably louder. And it was based on two electric guitars, "supported" by harp, piano, bass guitar and drums, like a blues band from Chicago! So it was totally new for the big part of the audience. With exception of a few notes in Stu's diary, there are no specific hints concerning arrangements. So it's not always clear which version of a song could have influenced them. (Only one record is mentioned: when Mick met Keith after several years of separation, he was carrying Berry's Rockin' at the hops with him - including "Confessin' the blues" and "Down the road apiece".) Generally they must must have been influenced by such a large number of musicians (blues, R&R, C&W) that the result would be a list too long to even begin to reproduce.
• No home game but a nervous debut of a new band. At that point of time there were no "screamies" around. The audience was not influenced by fame but could only be impressed by quality music. The audience's reaction was said to have been very mixed, but at the end of the gig, people felt more for the Stones than against.

Yeah, well, how can I tell you?

You've surely noticed that the sound of the LPs is really different to the description given on the front side: it sounds as if the songs were dubbed from old scratchy 78 rpm records. But most of the recordings are in reality excellent. (There's no doubt that thirty or forty years ago many sound engineers did a great job!)

It isn't my intention, as you may suggest, to force you to buy all the "original" records with their far better sound. (But the idea isn't that bad, could be mine!)

Hard luck that my tape deck ceased to work exactly one day before the deadline. Instead of postponing the project for some months, I recorded the whole lot with another (most probably faulty) deck. Sorry, hi-fi freaks!

Anything else? The "producer" has changed side C and D, and the somewhat strange labels were not my idea. (My agent told me that these people wouldn't think too much about their work. It seems he's right!)

What's that to me? I have a perfect tape (and all the LPs). Stones fans buy everything. OK, where's the problem?

Not that way!! As consolation, you get a tape with those songs I would have put on record in 1987. As you can see below, A 04.1, A 04.3, B 01.1 and C 08 would be replaced by the EP tracks on a further edition.

Since the discs have been delayed for about a year, I missed the 25th anniversary for the gig; but on the other hand, the initial 8-page booklet has grown in size, and quite a lot of mistakes have been erased.

I'm happy that I've got the records after all, and I think it's better than nothing.

Table 3 (part of table 1): The Marquee tape - part one
Track	Track see list bewlow	Interpreter	Title
A 01	A 02.3	Wilbert Harrison	Kansas City
A 02	A 03	Jimmy Reed	Baby what's wrong
A 03	A 04.2	Little Walter	Confessin' the blues
A 04	A 05	Jimmy Reed	Bright lights, big city
A 05	A 06	Elmore James	Dust my blues
A 06	A 07	Chuck Berry	Down the road apiece
A 07	B 02	Jimmy Reed	I'm a love you
A 08	B 03.a	Eddie Taylor	Bad boy
A 09	B 04.1	Jimmy Reed	I ain't got you
A 10	B 5	Jimmy Reed	Hush hush
A 11	B 06	Eddie Taylor	Ride 'em on down
A 12	B 07	Chuck Berry	Back in the USA
A 13	B 08	Jimmy Reed	Kind of lonesome
A 14	B 09.2	Elmore James	Blues before sunrise
A 15	D 01	Jimmy Reed	Big boss man
A 16	D 02	Billy Boy Arnold	Don't stay out all night
A 17	D 03	Jimmy Reed	Tell me you love me
A 18	--	Sonny Boy Williamson	Down child
B 01	D 04	Elmore James	Happy home
B 02	A 01.3	Muddy Waters	Rollin' stone
B 03	D 05.2	Muddy Waters	Soon forgotten
B 04	D 06	Bo Diddley	You can't judge a book by its cover
B 05	D 07	Jimmy Reed	Close together
B 06	E 01	Bo Diddley	Pretty thing
B 07	E 02	Coasters	I'm a hog for you
B 08	D 08	Elmore James	Look on yonder wall
B 09	F 01	R. Sharpe	Linda Lou
B 10	C 01.2	Little Walter	Key to the highway
B 11	C 02	Robert Johnson	Stop breakin' down blues
B 12	C 03	Slim Harpo	Shake your hips
B 13	B 04.2	Howlin' Wolf	Going down slow
B 14	C 05.2	Fred McDowell	You got to move
B 15	C 06	Jimmy Reed	The sun is shining
B 16	C 07.3	Elmore James	It hurts me too
B 17	F 02	Amos Milburn	Chicken shack boogie

Track	Interpreter Soloist or band leader (listed with his stage or nick name)	Title	Author as given on record in last column	Recording date	First released on	Selection on Marquee '62 is taken from
A 01.1	Robert Petway	Catfish blues	no credits → Robert Petway [→ traditional]	1941.03.28	(7" A-side) Bluebird B8838	Yazoo L-1038
	This is the first recording of this very popular tune which is said to have been already played by Skip James in the 1920. (A very special version is featured on the Bluesbreakers' bootleg The dark side of midnight.)
A 01.2	Muddy Waters	Rollin' stone	McKinley Morganfield [= Muddy Waters]	1950.02	(7" A-side) Checker 1426	Phonogram 9124 224 [= Chess 1427]
	This one is evidently influenced by "Catfish blues". But I think that the new lyrics and the different way the guitar is used turn it to a tune which stands on its own strongly enough. (Has nothing to do with Robert Wilkins' very popular "Rolling stone" recorded on 7 September 1928)
A 01.3	Muddy Waters	Rollin' stone [alternate]	McKinley Morganfield [= Muddy Waters]	1950.02	(LP) Chess 8208 ?	(2LP) Teldec 6.28622 (Chess)
A 02.1	Little Willie Littlefield	Kansas City loving	Willie Littlefield [?→ Jerry Leiber, Mike Stoller]	1952.08.15or18	(7" A-side) Federal 12110	K. C. Rec. KC 101
	It's still not clear who wrote "Kansas City loving". On Federal 12110 it reads "Stoller-Leiber", but there is a credible story in existence, that in retrospect, Willie Littlefield sold this song for next to nothing to "Leiber-Stoller" (which is categorically denied by Mike Stoller).
A 02.2	Little Richard	Kansas City	Jerry Leiber, Mike Stoller [?→ Willie Littlefield]	1955.09.13-14	Specialty 2104	Ace CH 133 [= Specialty 2104]
	As the Stones knew Little Richard very well, I wanted to use his "Specialty 2104" version. But then, after having listened to it, I really disliked it. (Released in March 1959 on LP, more than three years after the recording session, and after the success of Wilbert Harrison's version also on single, but without scoring.)
A 02.3	Wilbert Harrison	Kansas City	Jerry Leiber, Mike Stoller [?→ Willie Littlefield]	1959.02	(7" A-side) Fury 1023	Charly CRB 1102
	When the session began, the horn section had already packed up their instruments. What a lucky chance! Did the Stones sound like that in the Marquee? I hope that they knew this very successful tune: No. 1 in the Billboard R&B charts with this lyrical slightly smoothed version of "Kansas City loving" (get me some - get me one). (Another source says, the piano was played by Ike Turner.)
A 03	Jimmy Reed	Baby what's wrong	Mathis James Reed [= Jimmy Reed]	1961	(7") Vee Jay 425	(2LP) Vee Jay VJS 2-1035
	Thanks to the 1963 studio recording we are familiar with the song. A Willie Dixon composition, as the Stones books say? By chance, I discovered the song on an LP of "Mr. Memphis" Lonnie Mack (Edsel ED 158). Mack? Yeah, it's him! Thanks to the given composer credits I could import the LP in question. (Note that lots of Vee Jay LPs have been rereleased in the last few months.) Sometimes Ian Stewart didn't note the song titles in his diary, but a similar sounding part of the lyrics. His "Honey what's wrong with you" is part of two Jimmy Reed songs: "Baby what's wrong" and "You don't have to go" (30 December 1953), but of course the played "Baby what's wrong". (Different way of writing on label and cover of double album Vee Jay 1035! What's written on the single "Baby what's wrong" or "What's wrong baby"? Leadbitter listed it as "What's wrong baby"!) Bad luck! First I preferred another "Baby what's wrong", one of my Elmore James' all time favourites (October 1952) with some great Berry riffs (sorry, T-Bone & Co, I know Chuck's "teachers"). But then all arguments spoke against that song.
A 04.1	Jay McShann and Walter Brown	Confessin' the blues	Walter Brown, Jay McShann → Walter Brown	1941.04.30	(7") Decca 85..	[tape]
	Was McShann more than just the arranger of this tune? Walter Brown, who was the new singer in the band at that time, was afterwards mostly regarded as the only composer. (Note that Charlie Parker was member of the band then! Remember Charlie's book?) - Late addition: McShann records are often stated as Jazz records. If I had known that earlier... (see MCA LP MCA-1338). A comparison of these three songs is worthwile! First let's look at what Roy Carr has written: "Confessin' the blues comes from Chuck Berrys's repertoire... surprisingly enough, the Stones keep to McShann's slower interpretation." Roy, that isn't true! Berry's version covers, despite the faster pace, a lot of the feeling of McShann's original (compare some lead guitar playing to McShann's piano playing), whereas the Stones 1964 recording is clearly influenced by Little Walter's interpretation. Concerning the lyrics, Mick followed Chuck Berry and Little Walter, putting in a few words of his own. And in 1962? Any reason why it shouldn't have been a cover of Little Walter's recording?
A 04.2	Little Walter	Confessin' the blues	Marion Walter Jacobs [= Little Walter] → Walter Brown, Jay McShann	1958.?02	(7") Checker 890	Teldec 6.24805 (Chess)
A 04.3	Chuck Berry	Confessin' the blues	Walter Brown, Jay McShann	1960.02.15	(LP) Chess 1448	Vogue 515033 [= Chess 1448]
A 05	Jimmy Reed	Bright lights, big city	Jimmy Reed	1961	(7") Vee Jay 398	Charly CRB 1003
	Backing vocals by his wife Mary Lee. She (co-)wrote many of his songs, but without receiving any credits until 1964. Because of his extreme alcohol abuse, Jimmy Reed often forgot the lyrics immediately, so she had to whisper resp. sing the words to him. Here, she can clearly be heard.
A 06	Elmore James	Dust my blues	Bihari, Elmore James → Elmore Brooks [= Elmore James] → RJ, Elmore James	1955.mid	(7" A-side) Flair 1074	Kent KST 522
	Elmore James was the illegitimate child of Leola Brooks (thus the credits "Elmore Brooks"). Shortly after his birth, she married his father Joe Willie James. This is one of the typical variations of Robert Johnson's "I believe I'll dust my broom" (recorded 23 November 1936). (When writing this song, Robert Johnson must have had Kokomo Arnold's "Sagefield woman blues", recorded 15 January 1935, in mind. Other sources are said to have been Kokomo Arnold's "Sissy man blues", recorded 15 January 1935, and Leroy Carr's "I believe I'll make a change", recorded 16 August 1934.) Already in 1952 Elmore James had a top ten R&B hit with "Dust my broom" (recorded in August 1951, credited to Almore James!). In today's pop music it wouldn't be clear if "Dust my blues", with partially borrowed lyrics from Robert Johnson, could be considered as an original composition. Probably a judge would have to clear the situation. This song's pattern became Elmore James's trademark, but he's got a lot more to offer! (Elmore James's "Dust my broom" version is in my opinion the most popular blues by black and white blues musicians, comparable to Chuck Berry's "Johnny B. Goode" in the R&R field.) Bihari: It's a very strange characteristic not only of these producers and record company owners to put down their own names as (co-)authors without justification. (Josea is a pseudonym for Joe, Ling fpr Saul, and Taub for Jules or Florette Bihari.)
A 07	Chuck Berry	Down the road apiece	Don Raye	1960.02.15	(LP) Chess 1448	Vogue 515033 [= Chess 1448]
	The way of writing is not clear, e. g. as "Down the road apiece" on Chess LP 1448. It's also not clear from where the song comes. There is a vague idea that it was a boogie woogie hit in the 1930s. On the other sidethere are two versions by white pianist Freddie Slack: As "Down the road a-piece" (recorded 2 September 1940) and as "That place down the road a piece" (recorded 2 June 1941) with Don Raye as a "singer" and also mentioned as composer. (Don Raye is no pseudonym for Ray McKinley, the singer and drummer on the 1940 version. He was in fact one of the many Tin Pan Alley songwriters.)
B 01.1	Amos Milburn	Down the road apiece	Don Raye	1946.09.12	(7" A-side) Aladdin 161	Pathé Marconi 1546711
	Dedicated to Ian Stewart who perfectly knew Albert Ammons, Pete Johnson, Amos Milburn...
B 02	Jimmy Reed	I'm a love you	Jimmy Reed	1960.12.13	(7" B-side) Vee Jay 380	(2LP) Vee Jay VJS 2-1035
	Jimmy Reed didn't record a song titled "I want to love you"! I think it's this song, which also contains the words "I want to love you" in the lyrics.
B 03a	Eddie Playboy Taylor	Bad boy	Eddie Taylor	1955.01.18	(7" A-side) Vee Jay 149	Charly CRB 1015
	This is one of the songs Mick had already sung with Blues Incorporated. That's why it has to be "A 03a" because Cyril Davies would never have played a song like "A 03b".
B 03b	Larry Williams	Bad boy	Larry Williams	1958	(7" A-side) Specialty 658	(Ace CH 129)
	A song of the composer of e. g. "Dizzy Miss Lyzzy", "Slow down" and "Bony Maronie". (If you don't know his original, there's also a probably better known Beatles version.)
B 04.1	Jimmy Reed	I ain't got you	Calvin Carter	1955.07.18	(LP) Vee Jay 1022	Charly CRB 1003
	Written for Vee Jay Records. The song was better known in those days in Chicago as "Eldorado Cadillac". The Stones may have known both versions.
B 04.2	Billy Boy Arnold	I ain't got you	Calvin Carter	1955.10	(7" A-side) Vee Jay 171	(Charly CRB 1016)
B 05	Jimmy Reed	Hush hush	Jimmy Reed	1959.08.25	(7" A-side) Vee Jay 357	Charly CRB 1028
B 06	Eddie Playboy Taylor	Ride 'em on down	Eddie Taylor → BJW, Eddie Taylor [→ traditional]	1955.12.05	(7" B-side) Vee Jay 185	Charly CRB 1015
	According to Stones books, "Ride 'em on down" is said to have been written by Big Bill Broonzy. But he never recorded a song with this title! In fact a traditional Delta melody - listen to e. g. Johnnie Temple's "Lead pencil blues" (recorded 14 May 1935) - was used for several recordings: "Shake 'em on down" (Bukka White, recorded 1 September 1937; Bo Chatmon, recorded 22 October 1938), "New shake 'em on down" (Big Bill Broonzy, recorded 5 May 1938; T. McClennan, recorded 22 November 1939), "Truck 'em on down", "Ride 'em on down" (Robert Petway, recorded 28 March 1941). and "Break 'em on down" (Big Joe Williams, recorded 12 December 1941). Taylor's amplified version is lyrically a mixture of lots of Big Joe Williams's words, enriched with own ideas; and Petway was the first who used "Ride" in the refrain. The Stones played it most probably in the style of Jimmy Reed and Eddie Taylor (Eddie Taylor was Jimmy Reed's arranger and sideman for many years... and the harp player on A 03a "Bad boy" and A 06 "Ride 'em on down").
B 07	Chuck Berry	Back in the USA	Charles Edward Anderson Berry [= Chuck Berry]	1959.02	(7" A-side) Chess 1729	Chess 9283 020
B 08	Jimmy Reed	Kind of lonesome	Jimmy Reed	1960	(2LP) Vee Jay 1035	(2LP) Vee Jay VJS 2-1035
B 09.1	Leroy Carr	Blues before sunrise	no credits Leroy Carr [→ F. Blackwell, Leroy Carr]	1934.02.21	(7") Vocalion 02657	[never heard]
	This tune was first copyrighted in 1950, although Leroy Carr, to whom the song is credited, already died in 1935 (who got the royalties?). And there is some information that his partner "Scrapper" Blackwell co-wrote this song.
B 09.2	Elmore James	Blues before sunrise	no credits Elmore James ?→ Leroy Carr, Elmore James [?→ F. Blackwell, Leroy Carr, Elmore James]	1955.mid	(7" A-side) Flair 1079	Kent KST 522
	It's certainly no Elmore James composition (which is confirmed on the cover of Charly CRB 1017). Muddy Waters' studio version (recorded January 1959) and slow live version (recorded 26 October 1958 in Manchester, released 1982) weren't yet available on record in 1962. Muddy Waters and Elmore James used the same first verse (with that Carr's words), but the rest is typical Elmore James' style. So he gets credits, although I don't know Carr's original.
D 01	Jimmy Reed	Big boss man	Luther Dixon, Al Smith	1960.03.29	(LP) Vee Jay 1022	Charly CRB 1003
	Written for Jimmy Reed.
D 02	Billy Boy Arnold	Don't stay out all night	William Arnold [= Big Boy Arnold]	1955.10	(7" B-side) Vee Jay 171	Charly CRB 1016
	It took me a long time to find out. Thanks for the hint, Mr. Korner! (Dalton p. 19) You don't have to compare with Skip James' "I don't want a woman to stay out all night" (recorded 16 December 1964, first recording in 1931 as "If... the road", and again on 9 or 10 January 1966 as "Look down the road"). It's a completely different song.
D 03	Jimmy Reed	Tell me you love me	Jimmy Reed, Al Smith Jimmy Reed	1961	(2LP) Vee Jay 1035	(2LP) Vee Jay VJS 2-1035
	Sung as "Tell me that you love me", but everywhere the song title is written without "that".
D 04	Elmore James	Happy home	no credits Josea → Elmore James	1955.05	(7" A-side) Flair 1069	Kent KST 522
	According to some liner notes, Elmore James never had an album released in his lifetime (1918-1963). In the USA some of his songs came out on singles, in Britain not even one. Where did Brian get these songs from? - Late addition: A 06, B 09.1 and D 04 on the tape are taken from a new, digitally remastered Ace LP.

The Marquee gig is over!

Now for some more songs which (certainly) have connection to the Stones. To make it easier for you to compare, I've given all recording dates where the Stones (group, individual members) were involved.

NB: It's controversial if all cover versions of the Stones are of top quality. But it's undisputed that they almost managed to make the best choice!

Recording date given if a song was released on record and/or on film (full-playback performances excluded), with the exception of a few cases of historical interest.

Some data should be especially interesting (not only for hardcore fans, I hope) because it differs a bit from the existing information. Special notice should be taken in the lists to "First recorded by".

It's definitively not my aim to accumulate as many blues songs as possible, but to build up a fine collection. Fortunately there are a few record shops specializing in blues, where I could carefully listen to all the songs I didn't want to buy (thanks!). Therefore excuse some gaps ("First" and songs as "Hi-heel sneakers" where I couldn't find a blues LP in my collection with a version of it. - But there's Jerry Lee Lewis' 1964 live version in the rock'n'roll section!)

Track	Interpreter Soloist or band leader (listed with his stage or nick name)	Title	Author as given on record in last column	Recording date	First released on	Selection on Marquee '62 is taken from	Rolling Stones recording
D 05.1	St. Louis Jimmy	Soon forget you	no credits James Burke Oden [= St. Louis Jimmy]	1942.03.25	(7") Bluebird B9016	[never heard]	1962.10 - According to some rumours, one or two tape collectors possess two of these three songs (both incomplete).
	The discography of St. Louis Jimmy contains only an unreleased version of "Soon forgotten" (17 May 1963). So this piece of information applies to his "Soon forget you"! (Maybe it's really this song. Remember the last line of Muddy's version: "One day I'll soon forget you".) It's also possible hew gave away the song to his hero Walter Davis ("Soon forgotten", 21 March 1941). - Late addition: His LP Dog house blues seems to be back in stock, featuring one of his several rtecordings of "Going down slow", and "Soon forget you". If you... watch out!
D 05.2	Muddy Waters	Soon forgotten	no credits James Burke Oden [= St. Louis Jimmy]	1960.07.03	(LP) Chess 1449	P-Vine Spec. PLP-814 [= Chess 1449]
D 06	Bo Diddley	You can't judge a book by its cover	Willie James Dixon [= Willie Dixon]	1962.06.27	(7") Checker 1019	Chess CH-9106 (Sugar Hill)
D 07	Jimmy Reed	Close together	Jimmy Reed	1960.12.13	(7" A-side) Vee Jay 373	Vee Jay VJLP 1025
	Hang it! One Himmy Reed song after the other, and always played the same way (who mentioned Status Quo?). If it was all so simple, why didn't lots of others cash in and became as successful as Jimmy Reed? Simple, easily recalled melodic themes aren't that easy to handle, but he had that certain individual something! That's why he is possibly the most successful downhome bluesman of all time. Take care, it's intoxicating stuff. Ask Keef!
D 08	Elmore James	Look on yonder wall	no credits Elmore James, M. Sehorn → James Clark → James Clarke	1961	(7") Fire 504	(3LP) P-Vine Spec. PLP-6006	1968.12.11or12
	The liner notes on the Charly LP 1017 say that this song was first recorded by J. Clarke (or Clark) as "Get ready to meet your man" (22 October 2045), but it's also said that Elmore James was more influenced by "Jazz" Gillum's version (18 February 1946).
C 01.1	Jazz Gillum	Key to the highway	no credits William McKinley Gillum [= Jazz Gillum]	1940.05.09	(7") Bluebird B8529	[never heard]	1964.11.07 (according to Stu) and 1977-1979 (Keith)
	It's for certain that Big Bill Broonzy and Charlie Segar were put down as the holders of the copyright in 1941. But it's more likely a Jazz Gillum composition. He recorded this song exactly one year before Big Bill did it. The credits are said to have been changed by Lester Melrose, their mutual white producer and manager, when the song showed promise to be a big hit. - Late addition: Just discovered that Charlie Segar had already recorded a song titled "Key to the highway" on 23 February 1940. Any connection with the discussed song??
C 01.2	Little Walter	Key to the highway	Little Walter → Jazz Gillum	1958.?08	(7" A-side) Checker 904	Teldec 6.24805 (Chess)
	When you recorded your version, you've listened to Little Walter more than a 100 times, right Keith?
C 01.3	Jazz Gillum	Key to the highway	no credits Jazz Gillum	1961	(LP) Folkways FS3826	Folkways Rec. FS3826
	Jazz Gillum's re-cut shows lyrically no significant difference to Little Walter's interpretation.
C 02	Robert Johnson	Stop breakin' down blues	Robert L. Dodds [= Robert Johnson]	1937.06.20	(7" A-side) Vocalion 04002	CBS (Columbia) C 30034	1971(-1972) One of the highlights of Exile.
	Robert Johnson was the illegitimate child of Noah Johnson and Julia Dodds (who was married to Charles Dodds at that time). Robert L. Dodds took on his father's name later and became Robert Johnson. - The song is said to have been influenced by John Oscar's "Whoopee mama blues". Some people say that the Stones didn't state the correct credits for "Love in vain" and "Stop breakin' down blues", as they didn't want to pay any royalties. That's completely wrong!! You know, Robert Johnson never copyrighted any of his songs, and so they were what is called "PD" (public domain) which means that anybody can put them out on record without paying anything. But of course it would have been more honest to state Robert Johnson as composer! It's very interesting that not only the Stones put down "Payne" as holder of the copyright, but also other groups having recorded Robert Johnson songs. (I've heard on radio in 1980 that Woodie Payne, a local[?] lawyer, copyrighted some songs after Robert Johnson's death. Therefore "Payne" seems to be no imaginary name!). - CBS (Columbia): The US CBS group is owner of Columbia Records, but the British EMI group has the right to use the logo Columbia exclusively in Europe. So in Europe, on US Columbia LPs "Columbia" is crossed or covered with CBS stickers!
C 03	Slim Harpo	Shake your hips	James Moore [= Slim Harpo]	1966.?01	(7" A-side) Excello 2278	(LP) Rhino RNLP 106	1971(-1972) and 1972.05.72
	Different mix on Rhino and Flyright LP 593. I like this one more.
C 04.1	St. Louis Jimmy	Going down slow	no credits St. Louis Jimmy	1941.11.11	(7") Bluebird B8889	[never heard]	1970.05.02-07 (The Wolf's London sessions: Charlie Watts and Bill Wyman, one session [the first?] with Ringo Starr and Klaus Voorman instead of Charlie and Bill) and 1979.11-1980.01 Brian Knight LP (Charlie Watts).
	I have a later recording with St. Louis Jimmy: He sang his song on Otis Sppann's remarkable LP ...and his piano.
C 04.2	Howlin' Wolf	Going down slow	no credits St. Louis Jimmy	1961.12	(7") Chess 1813	(LP) Vogue 515026 [= Chess 1469]
	The other singer is bassplayer (arranger, producer) Willie Dixon.
C 05.1	Reverend Gary Davis	You got to move	traditional [→ Gary D. Davis = Reverend Gary Davis]	1961.08.10	(LP) Pre./B'ville 1032	(2LP) Fantasy F-24704	1969.12.02or03 and London 1970 (according to Bill) and several live recordings 1969, 1970, 1975 and 1976.
C 05.2	Fred McDowell	You got to move	Fred McDowell → Reverend Gary Davis, Fred McDowell [→ traditional]	1966	(LP) Arhoolie F 1027	(LP) Arhoolie F-1027
	Also known as "You've got to move". On different editions of Sticky fingers the song is credited either to Jagger/Richard (!) or Fred McDowell, or Fred McDowell/Davis, or even with no credits at all. Thanks to the mentioning of "Davis" I discovered that Harris had put down the song to Blind Reverend Gary Davis. Some months later have accidently discovered his version [?]. He played it faster in a rag style while Fred did it with "Sitting on top of the world" and "It hurts me too" in mind, and the "police verse" is Fred's own. The Stones '69 live version is evidently a copy of Fred's version, but without attaining his standard. Thanks to the Stones' cover, Fred received his first royalty cheque ever in 1972!
C 06	Jimmy Reed	The sun is shining	Jimmy Reed	1957.04.03	(7" A-side) Vee Jay 248	(2LP) Vee Jay VJS 2-1035	1969.12.06
	Elmore James' composition of the same name (April 1960) has nothing to do with this one.
C 07.1	Tampa Red	It hurts me too	Hudson Woodbridge [= Tampa Red]	1940.05.10	(7" B-side) Bluebird B8635	(Blues Classics BC 25)	1969.05 (according to Nicky Hopkins): Jamming with Edward! (Mick Jagger, Bill Wyman, Charlie Watts). - Mick improvised the lyrics very strongly, maybe he should get some credits!
	Tampa Red was born as Hudson Woodbridge. Whittaker is more usual, as he grew up as an orphan with his grandmother Mrs. Whittaker in Tampa (Florida, USA). - The melody of the classic "Sitting on top of the world" (17 February 1930) influenced that song a lot, confirmed by Tampa Red's "Keep on dealin'" (27 June 1935) where he used this melody as a guideline. "It hurts me too" is also known as "When things go wrong" (Big Bill, Canned Heat). Why? The original of 1940 was called "It hurts me too", whereas the hit version of 1949 was titled "When things go wrong with you". I guess that there is only a little difference (most probably a new arranegment. And different lyrics?). In comparison to the 1940 original, on the following two versions Elmore James used the same chorus, but the words of the verses were his own.
C 07.2	Elmore James	It hurts me too	Elmore James, Marshall Sehorn → Tampa Red, Elmore James	1957	(7" A-side) Chief 248	(Charly CRB 1008)
C 07.3	Elmore James	It hurts me too	no credits Elmore James, Marshall Sehorn → Tampa Red, Elmore James	1962or1963	(7" A-side) Fire 2020	(3LP) P-Vine Spec. PLP-6007
C 08	Bo Diddley	Mona (I need you baby)	Ellas Bates [= Bo Didlley]	1957.03	(7") Checker 860	Chess CH-9106 (Sugar Hill)	1964.01-02 and 1964.03.19 and 1964.08.08 Saturday Club and 1981.09.26
	Bo Diddley was born as Ellas Bates, later adopted by the McDaniel family, thus called Ellas McDaniel.
E 01	Bo Diddley	Pretty thing	Willie Dixon	1955.08.12	(7" A-side) Checker 827	(Chess CH-9106 (Sugar Hill))	1963.04 and 1963.05.10 (?). - This song and the three following ones are from a cancelled EP.
	I could have put it on record as the Stones' versions are unknown, but I don't like it at all. Bad taste? Was a very popular song with English bands in the 1960s.
E 02	Coasters	I'm a hog for you	Jerry Leiber, Mike Stoller	1959.07.17	(7" B-side) Atco 6146	(Atlantic 30057)	1963.08 (?)
	B side of single Poson ivy. A song made for Keith! Popular song of their stage set in those days. Wasn't there a recording or was it impossible to reproduce that wonderful rolling beat? (The Coasters needed three sessions until they were satisfied with their recording!)
F 01	Ray Sharpe	Linda Lou	Ray Sharpe	ca. 1959	(7" A-side)	(Moonshine BLP 104)	1979.01-02
	Better known as "Linda Lu".
F 02	Amos Milburn	Chicken shack boogie	Lola Ann Cullum, Amos Milburn	1956	(7") Aladdin 3332	(Pathé Marconi 1546711)	1984.11 (Bill Wyman and Charlie Watts). - Dedicated to Stu who...
	Lola Ann Cullum (also known as L. Cullen), a doctor's wife from Houston, was Amos Milburn's manager. The discography on the cover says that it's his 1948 hit version ("Chicken shack boogie", 19 November 1947), but in fact it's his much wilder re-cut of 1956!
--	Sonny Boy Williamson	Down child	Aleck Ford [= Sonmny Boy Williamson 2]	1964.early	(LP) Fontana TL 5277	[taped FM broadcast]	No connection to the Stones.
	Sonny Boy recorded some (chaotic) live sides with the Yardbirds, the Animals, Brian Auger and Chris Barber; and toured with lots of English bands. Were the Stones too busy to...? This song has a certain raw charm. Hasn't it?

References

• Aeppli, F.: Heart of stone (1985) and other books, magazines, ... about the Stones
• Alsmann, G.: Nichts als Krach (1985)
• Brunning, B.: Blues : the British connection (1986)
• Chapple, S.; Garofalo, R.: Rock'n'roll is here to pay (1977, ger. 1980)
• Dixon, R.; Godrich, R.: Blues and gospel records 1902-1943 (1982)
• Engbarth, G.: Der Blues vom Blues (1977)
• Evans, D.: Big road blues (1971)
• Fancourt, L.: Chess blues resp. R&B discography (1983 resp. 1984)
• Frame, P.: Rock family trees : two books in one volume (1984)
• Garfield, S.: Expensive habits (1986)
• Gissing, W.: Mississippi Delta blues : R. Johnson (1986)
• Godrich, J.: Recording the blues (1970)
• Harris, S.: Blues who's who (1979)
• Herzhaft, G.: Nouvelle encyclopédie du blues (1984)
• Leadbitter, M.; Slaven, N.: Blues records 1943-1966 (1968) new up-to-date edition announced for 1987!
• Lorenz, W.: The blues of John Lee "Sonny Boy" Williamson (1986)
• Miller, J. (ed.): The Rolling Stones illustrated h... (1976, ger. 1979)
• Oliver, P.: The story of the blues (1969, ger. 1982)
• Russell, T.: Blacks, whites and blues (1970)
• Shaw, A.: Honkers and shouters : rhythm and blues (1978)

Magazines

• Blues forum, esp. No. 8 (Little Willie Littlefield), No. 10 (Wilbert Harrison), No. 16 (White blues, Billy Boy Arnold)
• Guitar player 1/2 (Muddy Waters)
• Juke blues No. 8 (Jimmy Reed)
• ME/Sounds No. 12/1986 (record business)
• Soul bag, esp. No. 94 (Elmore James), No. 105 (Slim Harpo)

Album liner notes, booklets, articles, correspondance

Track	Interpreter Soloist or band leader (listed with his stage or nick name)	Title	Author as given on record in last column	Recording date	Selection on tape is taken from	Rolling Stones recording
--	Bo Diddley	Diddley Daddy	Harvey Fuqua → William Arnold [= Big Boy Arnold], Harvey Fuqua	1955.05.10	(LP) Chess CH-9106 (Sugar Hill)	1963.01.28
	As a member of the Bo Diddley band, Billy Boy Arnold wrote a song titled "Diddley Daddy". After a dispute with Leonard Chess he wrote new lyrics and recorded the song as "I wish you would" for Vee Jay Records. After he had left the band, the original was revised by Harvey Fuqua of the Moonglows. (I maintain that their backing vocals massacred that song, while on the other hand their contribution was enhancing Berry's "Back in the USA"!)
A 01	Bod Diddley	Road runner	Ellas Bates [= Bod Diddley]	1959	(LP) Chess CH-9106 (Sugar Hill)	1963.01.28 1983.09.20 (Charlie Watts)
A 02	Muddy Waters	I want to be loved	no credits: Willie James Dixon [= Willie Dixon]	1955.02.03	(2LP) Synd. Chapter SC001	1963.01.28 1963.05.10
	A bit longer than 1:50! No highlight in Muddy's career (cf. his re-cut of 1977).
A 03	Bo Diddley	Crackin' up	Bo Diddley	1958.12	(LP) Chess CH-9106 (Sugar Hill)	1963.02.02 (or BBC 1963) 1977.03.04or05
	To my surprise, the reggae-arrangement of 1977 wasn't the Stones' idea! The original was also strongly influenced by Carribean music. Together with Berry's "Havanna moon" (29 October 1956), a sound far ahead of its time?
--	Bo Diddley	I'm alright	no credits: Bo Diddley ?	1961 or 1962	[never heard]	1963.04 ??
	Bo Diddley didn't record a song called "It's alright babe"! I know it's probably not "I'm alright", but who knows? Unknown to me, because Bo's less popular songs can hardly be found nowadays. - Any link to the Stones' own (?) "I'm Alright? Same thing with Bo's "Craw-dad" (January 1960) resp. "Doing the crawdaddy" (July 1960) and the Stones' "Hey crawdaddy"? - Late addition: Never touch a sleeping dog! Ten original Checker LPs are announced. First is out with great cover, well done folks! It features "She's alright" (September 1959) which is - as expected - not the song I'm looking for. - Latest addition: 4th LP is out, and "Hey crawdaddy" is a lyrically tuned down version of "Craw-dad"! Lots of different recording dates are listed on the covers: "Mona" (8 February 1955), "Diddley Daddy" (15 May 1955), "Pretty thing" (14 July 1955), "Road runner" (early September 1959), "Craw-dad" (April 1960). The great duo Big Joe Turner and Pete Johnson had recorded a song called "It's all right baby" (23 December 1938, an earlier version of "Roll 'em Pete"), one of the best ever recorded boogiew oogie songs! The Stones recorded another boogie woogie song with "Down the road apiece". "Write" a new arrangement, and, yeah... why not?
A 04	Arthur Alexander	You better move on	Arthur Alexander	1961.summer	(LP) Ace CH 66	1963.11.14 1964 Saturday club and 1964.03.19
	Blues? Real blues? On this subject Mick said in an NME interview: "... and as much R&B as Memphis or Road runner!" OK, it's soul oriented, but first I hate labelling (but we have to deal with it!), and second Dylan was not the first to show that the way of interpretation is at least as important as the song itself.
--	Muddy Waters	I just want to make love to you	Willie Dixon	1954.04.13	(LP) Phonogram 9124 224 [= Chess 1427]	1964.01-02 1964.04.26 1964 Saturday club 1964.06.03 1964.10.16or17
	Listed in the Chess files as "Just make love to me".
--	Jimmy Reed	Honest I do	Mathis James Reed [= Jimmy Reed]	1957.04.03	(LP) Charly CRB 1003	1964.01-02
A 05	Slim Harpo	I'm a king bee [alternate]	James Moore [= Slim Harpo]	1957.07	(LP) Flyright FLY 520	1964.01-02
	"Sting it then!" and Guitar Gable (and Keith) did it. If anyone likes that song, he should listen to "I'm a queen bee", Harpo's version of 1964. Super!!
A 06	Rufus Thomas	Walking the dog	Rufus Thomas	1963	(LP) Edsel ED 134	1964.01-02 1964 Saturday club 1964.10.16or17 (1964.10.18, playback?)
	His earlier more bluesy takes are part of the Laedbitter-Slaven book, but not the 1960s recordings made for Stax. Too much rhythm, too little blues?
A 07	Jimmy Reed	Shame shame shame	Jimmy Reed	1963	(LP) Charly CRB 1003	- (- "Little by little": 1964.01-02)
	This one delivered the idea for "Little by little". (Note that Jimmy Reed's re-recording of 1967 offers nothing of interest.) I was convinced that there was a strong connection between the unreleased Stones' song and the versions of Shirley, Jimmy Reed and Bryan Ferry, thereby favourising disco (Shirley) against rock (Ferry). Later on, I discovered Shirley's song on a tape and it was a completely different song! What next?? According to Roy Carr the Stones recorded Shirley's song in Rotterdam (between 22 January and 9 February 1975). Her version entered the British charts on 15 February 1975. From this we may infer: The Stones recorded a disco version of the Jimmy Reed song, or Shirley's song is an oldie (a "S. Robinson" is mentioned a composer - is that William "Smokey" Robinson?), or A demo tape of Shirly's song was given to the Stones. For the sake of completeness: No similarity to Smiley Lewis's fine "Shame, shame, shame" 81956), and I don't know J. McCracklin's "Shame shame shame" (1961). - Late addition: The liner notes on the new Mojo Blues Band LP say that the Smiley Lewis cut is a McCracklin/Geddins composition.
A 08	Bo Diddley	Cops and robbers	Bo Diddley (→ Kent Harris)	1956.10	(2LP) Chess CH 50030 (GRT)	1964.03.19
	I've been told that it's in fact a fine rendition of Kent Harris' "Cops and robbers". According to J. Otis, the unique "Bo Diddley beat" was already known under different names, for example as "shave and a haircut" in the 1930s.
--	Jimmy Reed	Ain't that lovin' you baby	Jimmy Reed	1955.12.05	(LP) Charly CRB 1003	1964 Saturday club
--	Dale Hawkins	Suzie Q	Delmar A. Hawkins [= Dale Hawkins], Lewis, Broadwater	1957	(7" B-side) London DL 20950	1964.05 1964.08.08
	"Suzie Q"? "Susie Q"? "Suzie-Q"? "Susie-Q"? "Suzy Q"?? My single, a rerelease in the "Oldies but Goldies" series, says "Suzie-Q". I've checked a lot of Dale Hawkins LPs, other LPs a chart- and other books - all very confusing! What's written on the original Checker single?? G. Herzhaft says that the classic "Susie Q" was written by Tampa Red, but I could not find a so called song in his discography. (It's definitely not "Stop truckin' and Suzi-Q", 21 December 1936), and John Lee "Sonny Boy" Williamson0s "Susie-Q" (17 December 1938) is, according to a lyric sheet, also a different song.
--	John Lee Hooker	Let's talk it over	no credits: Hudson Woodbridge [= Tampa Red]	1954	[never heard]	"Let's talk it over" resp. "Don't lie to me": 1964.05 ? 1964.06.10-11 1964 Saturday club 1972.06.24 1984.11 (Bill Wyman, Charlie Watts)
	The listing of "Let's talk it over" in the Stones' May 1964 session is wrong!! Why? I maintain that Hooker's song is, without knowing it, his version of Tampa Red's "Don't you lie to me" (10 May 1940). I think somebody had the intention of adjoining every song of Bill's proposition for the LP Metamorphosis to a certain session. I'm sure that Bill's "Let's talk it over" is in fact "Don't you lie to me" of the Chess sessions! (This idea was born by listening to the Poor Boys LP, and confirmed after a comparison of the lyrics.) A nice version of "Don't you lie to me", called a standard (!) in the liner notes, is featured on a LP by J. Yound and B. W. Horton (27 November 1967). The song developed like this: Tampa Red (10 May 1940) → Fats Domino (April 1951) → Ray Charles (23 January 1959) → Chuck Berry (April 1960) → Rolling Stones.
A 09	Shirley and Lee	Let the good times roll	Leonard Lee	1956.?07	(LP) Ace CH 47
	Shriley? Shirley P. Goodman! → Exile, Shirley and Company. To my surprise there are two popular songs titled "Let the good times roll"! Can't remember finding a hint in a Stones book that it's definitely Lee's song. The other one was first recorded by the great Luis Jordan (22 October 1956, a Fleecie Moore/Sam Thread composition). Other versions by Jerry Lee Lewis (1957, not released then?) and Ray Charles (1959). The Animals recorded Lee's song in 1965. A sign that the Stones recorded the same song in 1964?
--	Muddy Waters	Look what you've done	McKinley Morganfield [= Muddy Waters]	1956.12.01	(2LP) Teldec 6.28622 [= Chess]	1964.06.10-11
A 10	Howlin' Wolf	Down in the bottom	Willie Dixon	1961.05	Vogue 515026 [= Chess 1469]	1964.06.10-11 1964 Saturday club
A 11	Big Bill Broonzy	Tell me baby	no credits: William Lee Conley Broonzy [= Big Bill Broonzy]	1942.03.06	(LP) Biograph BLP C15
	The Stones were strongly influenced by Muddy's interpretation (July? 1959). After having listened to both songs, I found the jazzy original far superior to Muddy's version. Bought it immediately!
--	Buddy Guy	Hi-heel sneakers	Robert Higginbotham [= Tommy Tucker]	1975.03.09-11 Tokyo	[tape from FM broadcast]	1964.06.10-11 1964 Saturday club 1964.08.08 1964.10.16or17
	According to the liner notes on the Japanese double LP, George "Buddy" Guy is the singer, but I don't think so. It's more likely his brother Phil. - First recorded by Tommy Tucker (27 October 1963).
A 12	Howlin' Wolf	The red rooster	Willie Dixon	1961	Vogue 515026 [= Chess 1469]	1964.11.07 (1965.03.05-18) 1965.04.17(or18) 1965 ES 1965.05.16 Hollywood a go go 1970.05.02-07 (Charlie Watts and Bill Wyman) 1976.08.21 1977.03.04or05
	A Willie Dixon tune called "Littel red rooster" was first recorded by Otis Rush in 1956. Only a slight similarity to the later known song, not released at that time. A completely re-written song was given as "The red rooster" to Howlin' Wolf. - In 1963 Sam Cooke recorded a version with young Billy Preston on organ.
A 13	Muddy Waters	I can't be satisfied	Muddy Waters	1948.04	Phonogram 9124 224 [= Chess]	1964.11.07 1965 Top of the pops
	It's a reworked version of his Library of Congress side "I be's troubled" (1941). Listed in the Chess files as "Dissatisfied blues".
A 14	Bo Diddley	Craw-dad	Bo Diddley	1960.?01	(LP) Chess Ch-9264 (MCA)	1965.04.17(or18)
A 15	Howlin' Wolf	How many more years	Chester Arthur Burnett [= Howlin' Wolf] → Sonny Boy Williamson No. 1, Howlin' Wolf	1951.05.14	(2LP) PRT CXMD 4004 [= Chess 1434]	1965 Shindig!
	A version of the original Sonny Boy Williamson's "My baby I've been your slave" (17 June 1938). A comparison with a lyric sheet shows a similarity of more than 50% (Note that Sonny Boy Williamson was the original Sonny Boy, whereas the more popular Sonny Boy was the Chess recording artist "Ric" Miller, so called "Sonny Boy Willaimson No. 2").
A 16	Buster Brown	Fanny Mae	no credits: BUster Brown, Morgan Robinson	1959.mid	(tape) Soufflé SO-2014	1965.05.10 ?
	According to a Bill Wyman interview the Stones only recorded one version: The BBC track! That seems to be right as I can't see any reason why to record a song which is too similar to "The under assistant West Coast promotion amn", one of the songs from the mentioned session. (But the question arises how Klein's ABKCO would have got the rights to use the two BBC tracks?)
A 17	B. B. King	Rock me baby	Memphis Slim → W. Broonzy, Melvin Jackson	1961	(2LP) Joker SM 3726	1967.?06 (Ron Wood, as "Rock my plimsoul") 1968.03 1968.06or07 ? 1979.04.29 (Ron Wood and Keith Richards) 1979.05.05 (Ron Wood and Keith Richards)
	Neither a McKinley Morganfield nor a King/Josea composition. The best known B. B. King version is not more than a rendition of Lil' Son Jackson's "Rockin' and rollin'" (16 December 1950). On B. B.'s LPs the song is credited to P. Chatman, whereas a Chatman LP mentions Broonzy as composer. Until 1950 a song titled "Rock me baby" is neither listed in Chatman's nor Broonzy's discography. A Lil' Son Jackson composition? A reworked traditional, as a lot of songs in fact are? OK, let's say he was the first who recorded the song! - Late addition: A source for the song was probably Big Boy Crudup's "Rock me mama" (15 December 1944), but more important was to my opinion Big Bill's "Rockin' chair blues" (17 December 1940, later also called "Rock me baby blues"!).
A 18	Muddy Waters	Still a fool	Muddy Waters	1951.07.11	(LP) Phonogram 9124 224 [= Chess]	1968.06or07 1969
B 01	Reverend Robert Wilkins	The prodigal son	Robert Thimothy Wilkins [= Reverend Robert Wilkins]	1964.02.13or16	Original Jazz Label OJL-8052	1968.05-06 1969-1971 several live recordings 1979.04.22
	This is a gospel version of his "That's no way to get along" (16 September 1929). The Stones condensed the 22 (!) verses into 7 for their recording (full length: 9:54!).
--	Robert Johnson	Love in vain	Robert L. Dodds [= Robert Johnson]	1937.06.20	(LP) CBS (Columbia) C 30034	1968.05-06 1968.12.11or12 1969.06-07 1969.07.05 1969.11.18 ES 1969-1972 several live recordings 1978 1970-1971 (Faces live, with Ron Wood)
	A bit influenced by "When the sun goes down" which was already a popular tune before Leroy Carr recorded it for the first time (25 February 1935), and by Blind Lemon Jefferson's "Dry Southern blues" (?March 1926) with parts of the third verse.
B 02	Big Mama Thornton	Hound dog	Jerry Leiber, Mike Stoller → Jerry Leiber, Mike Stoller, Johnny Otis	1965.10.07 Hamburg	(LP) L&R LR 42.025	1978.06.28
	Johnny Otis changed some unsuccessful wording. On Big Mama's single, all three were listed as authors, but not on Elvis's one! (J. Otis: "But when the Presley record hit with a sale of 6 or 7 million, they ... cut me out.") First recorded by Big Mama Thornton on 13 August 1952.
B 03	Muddy Waters	Mannish boy	Muddy Waters, Bo Diddley, Mel London	1978	(LP) Blue Sky JZ 35712
	LP recorded in Detroit (1977) and Chicago (1978). Nothing written about that on the inner sleeve notes. It's Muddy's clever adaption of Bo's "I'm a man" (2 March 1955). He borrowed one of the four original verses, added a new one and a special introduction, and lengthened the refrain. The four verses of the Stones' version were taken from both songs: 1 + 4 + Muddy Water's + 2. This 1978 recording sounds very similar to the 1977 Love you live recording!!
--	Robert Johnson	Sweet home Chicago	Robert Johnson → James Arnold, Robert Johnson	1936.11.23	(LP) CBS (Columbia) C 30034	1979.01or02
	There are many similiarities in the melodic lines and the lyrics to "Kokomo" Arnold's "Old original Kokomo blues" (10 September 1934) which is said to have been influenced by "Jabo" Williams' "Ko ko mo blues" (May 1932). Robert Johnson obviously also knew "Scrapper" Blackwell's "Kokomo blues" (16 June 1928).
B 04	Ann Cole	Got my mojo working	no credits: Muddy Waters → Preston [or Peterson] Foster, Muddy Waters	1957.01.27	(LP) Krazy Kat KK782	1962 (Mick Jagger) 1981.11.22 (Keith Richards and Ron Wood) 1984 several live recordings (Mick Taylor) 1984.06.05 (Charlie Watts)
	One of Muddy's theme numbers; although he had picked up the song while on tour in the South with Ann Cole. He recorded it on 12 December 1956. He added a new verse because he could only remember two of the five original verses. Both singles were released within days of each other: Muddy's in Chicago (credited to "M, Morganfield") and Ann's in the South (credited to "Foster"). It's said that Chess Records was forced by law to change credits on further editions (see Chess 50033!).
B 05	Robert Johnson	Come on in my kitchen	Robert Johnson → Nehemiah James, Robert Johnson	1936.11.23	(LP) CBS (Columbia) CL 1654	1968.08or09 (Mick Jagger)
	Another song with "Sitting on top of the world" as basis. First verse taken from Skip James' "Devil got my woman" (February? 1931). One of my favourite Robert Johnson songs.
--	Jessie Fortune	Too many cooks	no credits: Willie Dixon	1963.04.26	--	1971 or 1972 (Mick Jagger)
	Superb version is on Robert Cray's first LP.
--	Muddy Waters	Champagne and reefer	Muddy Waters	1981	--	1981.11.22 (Mick Jagger, Keith Richards, Ron Wood)
	Better known to us as "I wanna get high" ... and Herman "Junior" Parker's song is correctly written "Next time you see me" (12 December 1956, a Don Robey/Wm Harvey composition). Walter "Lefty Dizz" Williams's "Ugly woman blues" is still unidentified.
B 06	Big Maceo (Merriweather)	Worried life blues	Major Meriweather [= Big Maceo] → J. A. Estes, Big Maceo Merriweather	1941.06.24	(LP) Blues Classics BC-28	1977.03.12-14 (Keith Richards) 1979.05.05 (Keith Richards, Ron Wood) 1983.01 (Charlie Watts)
	A clever variant of Sleepy John Estes' "Someday baby blues" (9 July 1935). Big Maceo completely changed the lyrics of the verse.
--	Jimmy Reed	My first plea	no credits: Jimmy Reed	1955.12.05	[never heard]	1978.08 ?? (Keith Richards, Ron Wood ?, Bill Wyman ?, Charlie Watts ?)
	Never heard of a song called "My last plea"! But I must say that I don't know Jimmy Reed's (mediocre) last recordings of 1970-1973.
--	Elmore James	Everyday I have the blues	no credits: John L. "Peter" Chatman [= Memphis Slim]	1962 or 1963	(3LP) P-Vine Sp. PLP-6007	1982.02.21 (Keith Richards) 1984.06.05 (Charlie Watts)
	Certainly a Memphis Slim composition, but why didn't he record teh song himself? Later on I read hat he recorded it as "Nobody loves me" (about 1948). The well known title was popularized by Lowell Fulson's hit version (early 1949).
B 07	Little Walter	Mean old world	Marion Walter Jacobs [= Little Walter] → A. Walker, Little Walter	1952.10	(LP) P-Vine Sp. PLP-802 [= Chess 1428]	1982.02.21 (Keith Richards)
	First verse and refrain very similar to T-Bone Walker's "Mean old world" (May 1945). What about Big Bill's "Mean old world" (27 March 1958)?
--	Buddy Guy	My time after a while	no credits: Robert Geddins, Barger	1964.06.10	[never heard]	1967.07.12 (Mick Taylor) 1983.05.22 (Mick Taylor)
	First recorded by Tiny Powell (1964).
B 08	Sonny Boy Williamson	Don't start me to talkin'	Aleck Ford [= Sonny Boy Williamson No. 2]	1955.08.12	(4LP) P-Vine Sp. PLP-6068	1982.06.06 (Mick Taylor)
	Sonny Boy Williamson was an illegitimate son of Millie Ford and is better known as Alex "Rice" Millere (Jim Miller was his stepfather). (For "Sonny Boy Williamson No. 2": cf. explanation to "How many more years".)
B 09	Freddie King	The stumble	Freddie Christian [= Freddie King], Sonny Thompson	1961.04.05	(LP) Charly CRB 1099 [= Chess]	1983.01 (Charlie Watts) 1983.05.22 (Mick Taylor)
--	Willie Dixon	You shook me	Willie Dixon	1970	(LP) CBS (Columbia) CS 9987	1968 (Ron Wood)
	First recorded by Muddy Waters (1962).
B 10	Etta James	I'd rather go blind	Jordon Foster → B. Foster, E. Jordon	1967.08	(LP) PRT CXMP 2000 [= Chess]	1972.07 (Ron Wood) 1973.06 (Ron Wood) 1973.10 (Ron Wood) 1974.12.23 (Ron Wood, Keith Richards) 1983.04.28or29 (Charlie Watts, Bill Wyman)
B 11	Otis Rush	Double trouble	no credits: Otis Rush	1958	(LP) Flyright FLY 560	1976.02-03 (Ron Wood ??)
	A Clapton out-take with Ronnie? No, it's Otis' original recording! (I don't know the album No reason to cry. Therefore I can't say if Ronnie is playing on that track.)
--	Muddy Waters	I'm your hoochie coochie man	Willie Dixon	1954.01.07	(LP) Phonogram 9124 224 [= Chess]	1962 (Charlie Watts) 1981.11.22 (Mick Jagger, Keith Richards, Ron Wood) 1983.04.28or29 (Charlie Watts, Bill Wyman)
	There are two versions recorded by Blues Incorporated: Charlie plays on the live version of Bootleg him, but not on the studio version of R&B from the Marquee!
B 12	Leroy Carr	How long how long blues no. 2	Leroy Carr	1928.12.19	(LP) Collector's Classics CC 38	1983.04.28or29 (Charlie Watts, Bill Wyman) 1984.06.05 (Charlie Watts)
	First recorded by Leroy Carr (19 June 1928) as "How long - how long blues".
B 13	Mississippi Sheiks	Sitting on top of the world	no credits: Armenter Chatmon, Walter Jacobs Vinson	1930.02.17	(LP) Yazoo L-1073	1970.05.02-07 (Charlie Watts, Bill Wyman)
	The song is said to have been a comment on the white "I'm sitting on top of the world" (1925). Turned out to be a big seller. Was often covered by white (Wiliam Hanson 1930, Leon's Lone Star Cowboys 1932, etc) and black musicians. The Wolf only added a few words.
B 14	Billy Boy Arnold	I wish you would	Billy Boy Arnold	1955.?05	(LP) Charly CRB 1016	1965 (Bill Wyman)
B 15	Junior Wells	Hoodoo man blues	no credits: Amos Blackmore [= Junior Wells] Sonny Boy Williamson No. 1, Junior Wells	1953.06.08	(LP) Delmark DL-640
	A version of the original Sonny Boy's "Hoodoo hoodoo" (6 August 1946), featuring one new verse by Junior Wells. And it must be said that "somebody done voodooed the voodoo man" is part of a song by the very popular black entertainer Louis Jordan (13 March 1940). Therefore it's obviously an old blues theme. The title on the Buddy Guy and Junior Wells LP TNT is part of the lyrics of Muddy's "I'm ready" (1 September 1954, a Willie Dixon composition)!
B 16	Big Joe Williams	Baby please don't go	no credits: Joseph Lee Williams [= Big Joe Williams] → M. Johnson	1947.07.22	(LP) Blues Classics BC 21	1981.11.22 (Mick Jagger, Keith Richards, Ron Wood) 1984.11 (Charlie Watts, Bill Wyman)
	Usually credited to Big Joe Williams (first recorded 31 October 1935) who stated once "that singer Mary Johnson is author".
B 17	Big Joe Turner	Roll 'em Pete	Pete Johnson, Joseph Vernon Turner [= Big Joe Turner]	1956.03.06	(tape) Atlantic SD 8812	1979.11.17 (Charlie Watts) 1983.01 (Charlie Watts)
	First recorded by Big Joe Turner (30 December 1938).
--	Leadbelly	Irene [= Goodnight Irene]	Huddie William Ledbitter [= Leadbelly], John A. Lomax	1943.mid	(LP) Capitol SM-1821	1983.09.20 (Charlie Watts, Bill Wyman) 1983.12.02 (Charlie Watts, Bill Wyman)
	First recorded by Leadbelly (16-20? July 1933).
--	Blind Boy Fuller	Get your ya yas out	no credits: Fulton Allen [= Blind Boy Fuller] ?	1938.10.29	[never heard]
	never recorded

fghj

Words and music by ...

(Large parts of this chapter have been translated by a friend, thanks buddy!)

Have you never wondered at the fact that, according to the information on record labels and covers, several musicians are said to be writers of the same song? For example: Big Bill, Jazz Gillum, John Lee Hooker, Cahrlie Segar, Little Walter, Muddy Waters and even Chuck Berry of the classic "Key to the highway".

Who would ever have imagined that in the case of "Hide away" the songwriter was not Freddie King, but Hound Dog Taylor? Or, in "It hurts me too" it was not Elmore James but Tampa Red? Or, in "Sweet little angel" it was not B. B. King but again Tampa Red? The same songs have different titles; songs with the same titles are different; songs almost have similar titles, melodies, texts. It often stands to discussion as to who wrote what. When I give names other than those usually associated with a song:

• I haven't broken new ground. Of course there are different arguments, in part, and the information gathered are the results of detailed, painstaking work.
• This doesn't mean that it's definitive. Some discretion is advised! Where is the exact line between original composition and interpretation? Should I give composer credits to some new words, to a new pioneer arrangement? Needless to say that my definition is not more than one way of approaching. How sensible is it on my part to change best known composition credits? Am I not causing unnecessary confusion?
• It's my intention to give some musicians the recognition tehy deserve.
• In most cases I know the first version of the record. But as we are about to see, that doesn't mean much for blues, because some songs have gone quite a long way through phases of constant metamorphosis, until the first recording. Why is it so difficult to determine the true composers?

Blues and tradition

"Folk music is the product of a folk group within a larger society. It is transmitted orally within that group or between folk groups... unless it is transmitted through any form of the mass media, then folk music can also be considered popular music." (D. Evans)

It's an obvious mistake to think that all black Americans are blues lovers, for blues is only one of their musical creations. Many have little knowledge of blues or, if they've ever heard it, don't like it, for one reason or another. The following remarks deal with the important segment of black Americans who have enjoyed and transmitted blues.

Blues came from African roots that could not be suppressed, invariably mixed with strong Euro-American influences (language, chucrh songs, dance music, folk songs and almost all instruments). Whereby popular songs such as "Stack o' Lee", "Corrina, Corrina", "Lonesome road blues" and "St. Louis blues" all came from the so called "common-stock" (no racial connotation!), blues is "common only within the black tradition. White versions sound not like independent expression of a traditional song, but like covers" (T. Russell). (Any arguments against that? Why is it that already the first white recorded blues in 1926? Why is it that blues purists considered the songs of Harmonica Frank as original blues till they found out that he was white? If this music contains so many Euro-American elements, is it then surprising that white musicians found a sufficient basis to tackle blues later on??)

In blues, a well-established number of themes, melodies, expressions, verses, lines and rhyming couplets are available. New creations quickly become common property, finding their way back into blues again. So there are already pre-fab components which can be joined together: those elements that are unsuitable are left out, new elements are added, historical material is replaced by current matter. Imitating is therefore not a sign of "a lack of originality. Blues is most accurately seen as a music of re-composition" (Blues Classics LP BC 21)!

The blues novice learned by imitating local musicians (and since the 1920s, by listening to records). Note that lots of blues musicians had much broader repertoires. They included blues, spirituals, worksongs, dance pieces, folk balads and even hillbilly stuff. But record companies wanted blues, for blues sold well in the black community.

Some combed the entire land; others hardly budged from their backyards. Each one learned from the other, and passed on further. In this way popular songs enjoyed wide distribution. Many texts and melodies held their own until now.

Blues was therefore so freely structured that it allowed for an individual arrangement. There's no doubt that countless musicians have developed a distinct, easily recognisable style, that they made PD stuff their own. For a folk music, blues has also attained surprising flexibility! Ever so often, new influences had to be adapted to. (For example Elmore James gave Robert Johnsons "Crossroad blues" a facelift to fit the large city scene - he did this by making some changes in the text and an arrangement for electric slide guitar and ensemble. Country blues became R&B.)

During the time of rock'n'roll and soul, disco and funk, blues had to endure long hauls. Blues is live music, surviving through being played. (in the mid-1970s, it's said that in Chicago blues was played exclusively in not more than two clubs. Since then discos have made a switch. For how long?)

Most of the "greats" are dead or over 60. Sippie Wallace, the last singer of the first blues generation of the 1920s, died some weeks ago (1 November 1986). The piano is disappearing from the blues clubs of Chicago. Pinetop Perkins and Lafayette Leake are still alive. Anybody else of interest? Black band leaders are tending, if at all, to play with white keyboarders.

Do the "young" talents have a chance to put people like Muddy or Howlin' Wolf in the shade?? Are the good ol' days, wehn blues was "honest and pure", long gone? Does the future belong to those people who are trying to break the pattern, to integrate other music? Robert Cray, Sugar Blue, Luther Allison are three examples from our time. But they are carrying further what B. B. King, Taj Mahal or Johnny Guitar Watson already tried to do years ago.

Blues and commercialization

Music business is one of the lines of business where lots of money can be made quickly; especially in the area of pop hits. (Is that perhaps the reason why there are so many people in the business who have no idea about music?)

But the black market also promised a lot. Contrary to the pop market, there was no necessity for paying royalties: it was simply a matter of course, that the black musicians were cheated out of their publishing rights. By saying this, I really don't want to give the impression that people could do whatever they wanted with these "illiterates and boozers". One simply has to be on the ball, so as not to learn the hard way! Just refer to those lawsuits conducted by Sting, Paul McCartney, John Fogerty, the Stones, the Who, Bruce Springsteen, ...

Only a minority of black musicians had the opportunity of making recordings. Since much was left up to providence, one can just imagine how many fine musicians remained unknown. (It's hard to imagine what blues would have lost if Robert Johnson, who was killed in 1938, hadn't tried to record some of his songs in 1936!)

Production and distribution were under white control. One was not too particular about composition credits. How was the producer to know who had written what? Did the musician himself know? How far was he concerned with this at all? It was only interesting for people who earned money from these rights. Artist = composer, in this way money could be saved, as we are about to see. (The first legal actions that I know of were made against Chess Records because of false credits in "Got my mojo working", and against Fury Records - Bobby Robinson - because they had omitted the credits in Wilbert Harrisons "Kansas City".)

Before World War II a few large firms, and afterwards many small ones, divided the blues (and later also the rock'n'roll) market among themselves. Blues records (then only singles) were locally or regionally distributed. The distribution system was rather primitively organised. The number of copies were small (there are exceptions to the rule: in the R&B field there were also million sellers). In one region a top hit, it was practically unknown in big parts of the country.

NB: These were race records and consequently meant for black people. The more important segment of white buyers was sealed off from this "wild, crude, sex-obsessed and demoralizing nigger music". The syrupy cover versions of some of these local hits sung by whites were intended for these buyers. (Those few radio stations which aired black music played a very important role as ice-breakers, because they gradually reached white teenagers.)

Cover versions such as Haley's "Shake rattle and roll" or Elvis's "Hound dog" didn't fit into this category. Of course, also here, lots of money was made with the covers; the original artists remained in obscurity. On the otehr side, only the group of white teenagers neglected by the large firms were reached.

Appendix 1: What does "Rhythm & Blues" entail?

a) Every kind of black music, that after World War II, was meant for the black market. Listed in the race charts; from 25 September 1949, Billboard changed the name to R&B charts, or
b) Term for a music which dates back to the 1940s, probably created in New York City. A mixture of blues, big band music, boogie woogie and gospel. Typical big city music. The electric Chicago blues and its offshots were mostly placed in this category. Typical representatives: Louis Jordan, Big Joe Turner, Fats Domino, Muddy Waters, the Coasters, Dinah Washington and B. B. King. Lots of R&B records had a potential for moving into the white market.

Big money could only be made in the pop charts. Chuck Berry was one of the first black musicians to have made it directly to the Top Ten pop charts ("Maybelline", 1955), without being taken over by a white cover version. That was because his clear voice sounded "white" on the radio.

In the blues scene of the 1950s, with exception of the very successful vocal groups, there was Jimmy Reed who got into the pop charts with "Honest I do" (No. 32). Anybody else? Even a megastar like B. B. King only got into the Top 20 in 1969!

The black musicians could only live from music if they were able to make live performances; i. e. years and years of mammoth tours through taverns and shacks. (The 300 nights a year, exclusiverly fro blacks, of B. B. King have already become a legend!) Frequently enough, these were not concerts; one was literally a juke box for entertaining the people, for dancing and animating them to drink ("to dance all nite long" - and you can bet these are not just empty words!) Hits helped a lot in obtaining better bookings. Only those who could perform for a white public on a regular basis in the 1960s and 1970s could say "we've made it".

It has to be quite clearly seen that the dichotomy black/white artists also functions today, in spite of people like Michael Jackson, Stevie Wonder, Tina Turner or Prince. One only has to remember the controversy concerning the composition of the program for "Live Aid" or MTV. And music meant for a black audience entered the race, then R&B, then soul charts. Today it's called Hot Black 100!

Appendix 2: Some money channels in the record business

The "copyright company" (BMI, ASCASP, GEMA, ...) permits public performances of the registered songs and collects compensation for those. Distributed to publishers and songwriters.
The songwriter sells or hands over the copyright of his songs for a certain period of time (the old classic was lifespan + 50 years. Remember the vain attempts made by Paul McCartney to buy back the copyrights for the Beatles' songs for 40 million dollars?) to a "copyright company" or a publishing house.
A publishing house is ran by a manager, record company, "copyright company", or songwriter himself, but mostly by other people. It collects the money for the songwriter (transfers from the "copyright companies", sales of sheet music, ...), controls the observance of the copyrights ans promotes songs and artists.
Musician's income:
a) Publishing royalties (in case you are the songwriter)
aa) Mechanical royalties: Song is published on sound carriers (records, CDs, cassette tapes, ...) → legally determined indemnification on retail selling prices by the manufacturing record company to transfer to the "copyright company" → handed to the publishing house - share to the songwriter pursuant to contract (Paul McCartney receives 100%!) → from this the manager is entitled to a part pursuant to contract.
ab) Performing royalties: song is played on radio, TV, in concerts or discos → legally determined indemnification to transfer to "copyright company" (mostly flat rates) → split proportionally between registered publishers and songwriters → share for manager.
ac) Advance of the "copyright company" to the songwriter. Later on charged in account with publishing royalties. (If I had knwon that earlier, I would have written a song for Elvis!)
ba) Recording royalties: Variable rates on unit prices of sound carriers pursuant to contract with the record company to transfer to the recording artist (does not have to be the songwriter of the song! Could be seen as a commission on turnover) → share for manager.
bb) Advance of the recrding company to the artist/band. Later on charged in account with recording royalties.
c) Mercahndising
d) Concert receipts
NB: These are the current conditions. This was much more uncomplicated in former days!!

Got it? No? Never mind! Now some theoretical examples to show how black (and white) musicians who are ignorant of the rules, can be cheated out of their money:

• If at all, by only paying for the session. The producer as emplyer registers the songs in his name at the "copyright company". This was in accordance with the US Copyright Act of 1906, and therefore legal until at least the mid-1970s! And today?
• By concluding no contracts, or concluding unfavourable ones. (The musician has to pay the studio costs and instruments; is then "charged" with royalties.)
• By operating with fixed figures. Not every musician is a qualified bookkeeper!
• Publisher (or white manager, record company) does not pass on the money.
• By buying the composition dirt cheap and register the song personally.
• Correct information only on the record label, bnut the registered songwriter at the "copyright company" is a different one.
• Musician without influence on what happens to the recordings. Lots of (overseas) pressings aren't known to him.
• Song from record company referred to as traditional. Of course, no money is paid.
• Small record companies that have the publishing rights encourage the multis to make cover versions. They receive the publishing royalties, the others get the recording royalties. And the original therefore has no chance of gaining ground on the pop market.

Some didn't get anything, others earned quite well (Big Bill Broonzy!). And between black and white there are 100 shades of grey! Here are a few glaring examples:

• In the 1920s and 1930s black musicians generally received nothing or next to nothing (5 to 10 dollars for a song, and no royalties. Only big stars like Bessie Smith received up to 200 dollars.)
  The Biharis were quite notorious for giving a bottle of liquor instead of money.
  But: By trading a lump sum for all rights, the musician was assured of cash, no matter if the recordings were released or how badly the records sold on the market.
• Bo Diddley received in 1955 for his first hits a non-recurrent compensation of 500 dollars and a Cadillac. He's getting nothing from the numerous re-publishings and cover versions.
  "I didn't know anything about BMI", F. Paris said later on, after his song sold over 10 million copies. After complaining he received 783 dollars... Johnny Copeland and Joe Medwick together wrote the classic "Farther on up the road" (a song Eric Clapton has been playing for years as last encore). Medwick then went to the producer Don Robey and sold 50% of the rights for 10 dollars. Robey arranged and launched the song with Bobby Blue Bland. So now it's a Medwick/Robey composition; Copeland never got any money.
  But: Big Boy Arnold received alone in 1978 for his 1957 hit "I wish you would" over 20'000 dollars in royalties.
• Elvis resp. the record companies didn't pay Big Boy Crudup a cent for the covering of "That's all right" (Sun), "My baby left me" and "So glad you're mine" (both: RCA). However, in 1959, Elvis financed a session for him. According to another source they would have paid some money, but Crudup's white manager L. Melrose didn't pass on anything!

Once again, I would like to make it clear that all this can't be explained simply with racist thoughts. Motown serves as sufficient proof for this! Of course, some of these practices only work when legal actions are not expected to take place. However, recently, there are a few cases which have become known:

• Willie Dixon and Chess Records conducted legal action against Led Zeppelin's "Lemon song" and "Whole lotta love".
• B. B. King brought action against the Biharis for embezzlement of royalties.
• The Chicago Blues Association was set up: Only those who are aware of their rights can defend themselves. (In an earlier case, "Sweet little sixteen" vs. "Surfin' USA", the legal action was not brought by Chuck Berry, but by the publishing house! Legal actions were even said to have been brought against the Stones. Because it was settled out court, exact details haven't been made public. "Out of time", "Heart of stone", a song from Some girls, some of the mentioned songs.)

How has the situation changed for the black musicians in the last 25 years? Everybody has to find his own answer to the changes in the social, economic and mental suppression of the American minorities.

One thing for sure: Formerly, the 3-line, 12-bar pattern was characteristic only for blues; on the contrary, today it's found all over. It's indeed a fact that the music industry in the hands of the whites, constantly exploited the black music (at the moment, Afro-rhythms and American street music have their turn) and cheated their real composers out of their royalties. In a store, this would be called shop-lifting. The thieves however live well, since they hardly reckon with prosecution. Crazy world?!

In conclusion, let us move out of the gloom back into the light: Apart from the blues records, where one knows exactly that no royalties are paid ("bootlegs") and, apart from the many on which speculation can only be made, there are both in the USA and in Europe records by blues experts, who carefully see to it that the money is paid to the true composers or their heirs. Some white musicians, folklorists, record producers and concert organizers have made very kind attempts at promoting their protégés. Although apostrophized by many as exploiters, white musicians were helpful in the 1960s, that their black mentors found a white public in the USA (!) and Europe. This was also recognized by people like Muddy Waters and Bo Diddley! (How many black musicians/bands were on tour with the Stones??) It was very important for them, because the amount of Down Home Blues ("Chicago Blues") records was and still is infinitely small in the R&B business (see Billboard R&B charts!). Even well-known people like Muddy Waters (his best selling record only reached No. 4 in the R&B charts), John Lee Hooker or Jimmy Reed could "survive" the 1960s and 1970s as musicians, because they could perform in front of white audiences (rock and jazz festivals, clubs, colleges and coffeehouses). Because of the repertoires of white bands and the journalist critiques we have a completely wrong picture about it! Generally, black people prefer blues singers who deliver an emotional message (z. Z. Hill, B. B. King, Bobby Blue Bland), whereas whites favourize instrumental efforts, texts aren't that important.

Close friendships were struck up in the process; brilliant examples of this were Johnny Winter and Muddy Waters, Canned Heat and John Lee Hooker or Axel Zwingenberger and Sippie Wallace. White bands such as Roomful of Blues or the Fabulous Thunderbirds (USA), Juice on the Loose (UK), or the Mojo Blues Band from Vienna are all highly esteemed as back-up bands. For example, the level of the latter bands earns higher esteem to my opinion than the "young talent groups" from Chicago.

The question is: Can blues really survive? Presumable this depends on the public judgement. Why not a concert once by Luther Allison or the Mojo Blues Band instead of Eric Clapton or Genesis? Why not a record of Elmore James or the new one of Lonnie Brooks, instead of one by Madonna or the Stones (ahem... of course, I mean Fleetwood Mac)???

Dr. Blues jun.

Comments, corrections or additions should be addressed directly to the author:

Daniel Wickli, Rixheimerstrasse 31, 4055 Basel, Switzerland.

Correspondants requiring a reply are requested to enclose a stamped addressed envelope or an international reply coupon.

Publication

ca. 1987

liner notes for sampler tape Marquee '62

These liner notes were originally written for the booklet of the unauthorised sampler double album Marquee '62. Author Walter Schäppi sent them to me in 1987 - though I never got hold of this album and I don't know if it actually exists at all (Walter had a definite faible for non-existing albums). However these notes show Walter's in-depth interest for the Rolling Stones and their blues roots, so I think it's good lecture still today. When I revised Walter's original writing in 2009, I substituted abbreviations with the complete words; footnotes were directly included to make reading easier.

Of course, "Dr. Blues jun." is noone else but Walter Schäppi.